Monday 21 July 2008
Tuesday 8 July 2008
Catherine Tate attacks West End
In an interview with the BBC, Catherine Tate openly criticised the current climate of west end theatre saying; "Putting [TV stars] in plays just to get people in is wrong,"
The full BBC interview can be viewed at http://news.bbc.co.uk/1/hi/entertainment/7495952.stm
Auditorium believes that in her interview, Catherine Tate was spot on as to highlighting the current issues that are dogging the West End.
The full BBC interview can be viewed at http://news.bbc.co.uk/1/hi/entertainment/7495952.stm
Auditorium believes that in her interview, Catherine Tate was spot on as to highlighting the current issues that are dogging the West End.
Wednesday 2 July 2008
Is Reality TV destroying West End Theatre?
It’s currently the hottest debate in theatre, ticket sales have never been higher, a whole new generation of audience are visiting the West End and reality TV has once again been proven to hold the golden touch when it comes to producing successful content for a mass audience.
But is this current climate really a renaissance for the west end musical? Or is the latest reality craze infact one of the worst things that could have possibly happened to West End theatre?
When looking at the shows, which have been born from the Reality TV craze, The Sound Of Music, Grease, Joseph and the Amazing Technicolor Dream Coat and Oliver! You are immediately faced with an interesting question; are the latest marketing ploys to capture an audience for these shows really any different from the previous marketing ploys that these shows used?
The Sound Of Music has not been performed on the West End stage since 1981, when the role of Maria was played to critical acclaim by Petula Clark, however the show itself is hardly one that needs much marketing, especially considering its status as one of the greatest musicals ever made.
Grease, recently voted in as the Greatest ever musical in a poll conducted by Channel Four, has seen many of its former stars become household names such as John Travolta and Richard Gere.
However, in its last creation as a West End show in 1993 the show used a marketing concept that was very popular at the time, casting stars of TV and music to play the lead roles. With the case of Grease, Neighbours star Craig McLachlan and Pop star Debbie Gibson were cast as Danny and Sandy, later in the show’s run they were replaced by TV personality Shane Richie and Pop star Sonia.
Joseph, it can be argued, started the trend of casting TV stars as the lead performers in West End shows as, in 1991, Neighbours star and teen heartthrob Jason Donovan was cast in the new West End production, the role of Joseph was handed over to TV Presenter Philip Schofield a few years later, and after Philip Schofield, Pop Idol Donny Osmond was cast as the man with the Technicolor coat.
Oliver! like The Sound of Music, has continued throughout its history to cast using more seemingly traditional mould of proven West End performers, who, through their work in Oliver! among other roles would become household names later in their careers such as Ron Moody, Barry Humphries and Phil Collins.
So why is there such a controversy surrounding this issue currently? Surely all of these shows are just marketing using the latest trends.
One of the issues stems from the critics; are these reality shows genuine? Lee Mead was cast as Joseph, however his previous job was as understudy for the role of Raoul in the West End production of Phantom of the Opera.
In The Sound of Music, Connie Fisher, a Call Centre worker had just graduated from The Mount view Academy for the Arts where she attended under a scholarship for singing.
Grease, also apparently casting amateurs cast Susan McFadden, a professionally trained actress from Ireland and Danny Bayne, an amateur actor but former Youth World Champion Dancer. And one of the favourites for Oliver! Which is currently running, as a competition is Rachel Tucker, a professional actress.
As a result of this, surely these “Reality Shows” are unable to be genuine in offering “any member of the public” the opportunity to fulfil their dream, as the winners of all of these competitions have been professionally trained actors with the exceptions of Danny Bayne and the contestants of Oliver!
The shows themselves have received many mixed reviews from the critics. The Sound of Music was applauded, as was the performance of Connie Fisher. Grease was savaged by the critics, as were the performances of the leads, and Joseph, like The Sound of Music was well received by the critics with particular praise going to Lee Mead.
I, as a critic saw all three of these shows, The Sound of Music was entertaining, yet Grease and Joseph seemed to have been reduced to poor homage’s of their previous incarnations.
The shows have received the best ticket sales of the whole West End, with figures around the £2 Million mark being reached and in some cases surpassed. So, whether the shows are any good or not are arguably irrelevant, as the industry seems to now be there to make money rather than to provide live entertainment.
The BBC, who have hosted the “reality shows” to find the leads for The Sound of Music, Grease and Joseph recently came under specific complaint from Kevin Spacey, Artistic Director of the Old Vic Theatre, He argued that the BBC is breaking it’s bylaws of being a non commercial organisation by broadcasting the shows, he said, "I felt that was essentially a 13-week promotion for a musical - where's our 13-week programme?"
Across the West End, how do musicals compare? Hairspray, winner of Best Musical 2008 at all four of the major UK theatre awards is currently one of the most popular musicals around, however it is possible to buy two tickets for an evening performance of Hairspray, which takes place this week. This is in comparison to Joseph, where the only shows before June 2008, which you can book two tickets to see the show in, are during the period next week where Lee Mead is on holiday.
Does this say anything about the quality of the show? No, what it does say is that the current West End theatre audience would rather go and see the performance that they feel they had a say in casting. Is this a shock? No. Is this a trend that the industry should be encouraging? No. And why not?
The answer I feel is simple; the productions of Grease and Joseph, which I saw, were pantomime- esque throughout the performance.
I, like many, got my first real experience of theatre by going to the pantomime, for the best part of the first ten years of my life, my family and I went to the pantomime, where audience participation is encouraged and so on. However, I was also taken to West End shows featuring the stars of my childhood, I saw Grease with Shane Ritchie and Sonia in the leads, I also saw Joseph with Philip Schofield in the lead.
Were either of the trips to the West End pantomime- esque for me? No, the reason for this is that my parents taught me about the etiquette of theatre; if you spend up to £75 for certain shows, you do not want to hear the audience scream with excitement when they catch a glimpse of their star. For £75 you expect the etiquette of theatre to be upheld; no mobile phones, no flash photography and no pop concert like behaviour.
So, is this Reality TV trend destroying theatre? The answer I feel is Yes and No. Yes because people are being introduced to the art through productions that do not represent the level of skill that the West End holds, also the timely etiquette of theatre is being slowly removed with concert like cheering and popcorn being sold in the aisles.
The answer is also No however because all that these shows are doing are using the latest marketing techniques and by doing this they are introducing a whole new audience to West End Theatre which, in the grander scale of things is the best outcome for the industry.
But is this current climate really a renaissance for the west end musical? Or is the latest reality craze infact one of the worst things that could have possibly happened to West End theatre?
When looking at the shows, which have been born from the Reality TV craze, The Sound Of Music, Grease, Joseph and the Amazing Technicolor Dream Coat and Oliver! You are immediately faced with an interesting question; are the latest marketing ploys to capture an audience for these shows really any different from the previous marketing ploys that these shows used?
The Sound Of Music has not been performed on the West End stage since 1981, when the role of Maria was played to critical acclaim by Petula Clark, however the show itself is hardly one that needs much marketing, especially considering its status as one of the greatest musicals ever made.
Grease, recently voted in as the Greatest ever musical in a poll conducted by Channel Four, has seen many of its former stars become household names such as John Travolta and Richard Gere.
However, in its last creation as a West End show in 1993 the show used a marketing concept that was very popular at the time, casting stars of TV and music to play the lead roles. With the case of Grease, Neighbours star Craig McLachlan and Pop star Debbie Gibson were cast as Danny and Sandy, later in the show’s run they were replaced by TV personality Shane Richie and Pop star Sonia.
Joseph, it can be argued, started the trend of casting TV stars as the lead performers in West End shows as, in 1991, Neighbours star and teen heartthrob Jason Donovan was cast in the new West End production, the role of Joseph was handed over to TV Presenter Philip Schofield a few years later, and after Philip Schofield, Pop Idol Donny Osmond was cast as the man with the Technicolor coat.
Oliver! like The Sound of Music, has continued throughout its history to cast using more seemingly traditional mould of proven West End performers, who, through their work in Oliver! among other roles would become household names later in their careers such as Ron Moody, Barry Humphries and Phil Collins.
So why is there such a controversy surrounding this issue currently? Surely all of these shows are just marketing using the latest trends.
One of the issues stems from the critics; are these reality shows genuine? Lee Mead was cast as Joseph, however his previous job was as understudy for the role of Raoul in the West End production of Phantom of the Opera.
In The Sound of Music, Connie Fisher, a Call Centre worker had just graduated from The Mount view Academy for the Arts where she attended under a scholarship for singing.
Grease, also apparently casting amateurs cast Susan McFadden, a professionally trained actress from Ireland and Danny Bayne, an amateur actor but former Youth World Champion Dancer. And one of the favourites for Oliver! Which is currently running, as a competition is Rachel Tucker, a professional actress.
As a result of this, surely these “Reality Shows” are unable to be genuine in offering “any member of the public” the opportunity to fulfil their dream, as the winners of all of these competitions have been professionally trained actors with the exceptions of Danny Bayne and the contestants of Oliver!
The shows themselves have received many mixed reviews from the critics. The Sound of Music was applauded, as was the performance of Connie Fisher. Grease was savaged by the critics, as were the performances of the leads, and Joseph, like The Sound of Music was well received by the critics with particular praise going to Lee Mead.
I, as a critic saw all three of these shows, The Sound of Music was entertaining, yet Grease and Joseph seemed to have been reduced to poor homage’s of their previous incarnations.
The shows have received the best ticket sales of the whole West End, with figures around the £2 Million mark being reached and in some cases surpassed. So, whether the shows are any good or not are arguably irrelevant, as the industry seems to now be there to make money rather than to provide live entertainment.
The BBC, who have hosted the “reality shows” to find the leads for The Sound of Music, Grease and Joseph recently came under specific complaint from Kevin Spacey, Artistic Director of the Old Vic Theatre, He argued that the BBC is breaking it’s bylaws of being a non commercial organisation by broadcasting the shows, he said, "I felt that was essentially a 13-week promotion for a musical - where's our 13-week programme?"
Across the West End, how do musicals compare? Hairspray, winner of Best Musical 2008 at all four of the major UK theatre awards is currently one of the most popular musicals around, however it is possible to buy two tickets for an evening performance of Hairspray, which takes place this week. This is in comparison to Joseph, where the only shows before June 2008, which you can book two tickets to see the show in, are during the period next week where Lee Mead is on holiday.
Does this say anything about the quality of the show? No, what it does say is that the current West End theatre audience would rather go and see the performance that they feel they had a say in casting. Is this a shock? No. Is this a trend that the industry should be encouraging? No. And why not?
The answer I feel is simple; the productions of Grease and Joseph, which I saw, were pantomime- esque throughout the performance.
I, like many, got my first real experience of theatre by going to the pantomime, for the best part of the first ten years of my life, my family and I went to the pantomime, where audience participation is encouraged and so on. However, I was also taken to West End shows featuring the stars of my childhood, I saw Grease with Shane Ritchie and Sonia in the leads, I also saw Joseph with Philip Schofield in the lead.
Were either of the trips to the West End pantomime- esque for me? No, the reason for this is that my parents taught me about the etiquette of theatre; if you spend up to £75 for certain shows, you do not want to hear the audience scream with excitement when they catch a glimpse of their star. For £75 you expect the etiquette of theatre to be upheld; no mobile phones, no flash photography and no pop concert like behaviour.
So, is this Reality TV trend destroying theatre? The answer I feel is Yes and No. Yes because people are being introduced to the art through productions that do not represent the level of skill that the West End holds, also the timely etiquette of theatre is being slowly removed with concert like cheering and popcorn being sold in the aisles.
The answer is also No however because all that these shows are doing are using the latest marketing techniques and by doing this they are introducing a whole new audience to West End Theatre which, in the grander scale of things is the best outcome for the industry.
Alice Haines, Auditorium Interview
In a industry where budding actors and actresses will do almost anything to get their “big break” there is a lot of realization that, if you are not one of the lucky 2% of actors to be employed by the profession full time, the life of an actor may not be for you. Alice Haines, found acting after completing a degree in Physiology, she has however, decided against becoming a full time actress. I took the opportunity to find out why.
1. What is your earliest memory of Theatre?
Being taken to see a panto at Richmond Theatre when I was about four. Can't remember which one but I do remember wearing black patent leather shoes with white spots! Around the same time I remember going to see things at the Polka Theatre in Wimbledon.
2. What first interested you in the theatre industry?
My great uncle, Irving Davies, was a choreographer and I grew up hearing his stories of shows he had worked on and thinking what a fascinating life that would be and how wonderful it would be to get paid to entertain people. Not that that persuaded me to want to go into theatre in any capacity. At school I wasn't involved in anything remotely theatrical, gave up drama as soon as I could and ended up doing science A Levels and a degree in physiology.
3. What is your most beloved theatre memory?
It's become a bit of a joke in my family that my parents cannot go to the theatre without someone in the audience falling spectacularly ill. As I used to go with them quite often, I've seen quite a number of people staggering out of the auditorium or collapsing in the aisle. Each time it's happened I've been full of admiration for the actors ploughing on, seemingly oblivious to the hoo-hah going on - I'm incapable of taking my eyes off it. Anyway, to return to the question, it always makes me smile when I remember, during a performance of something rather dull (doesn't matter what), a woman sitting in the middle of a row suddenly standing up and looking round, meerkat-like, before projectile-vomiting over several people in the row in front of her. The ensuing fuss was one hell of a lot more interesting than what was going on on stage!
4. What is your favourite play?
I don't have a favourite play, as such. I love plays which make me laugh, whether the humor is physical, verbal, farce, I don't mind as long as it's funny. At the other end of the spectrum, I cannot stand anything that takes itself too seriously. I have no problem with serious plays which tell a good story but I loath plays which forget that their primary purpose is to ENTERTAIN. Same goes for musicals and operas - I want songs I can sing on the way home!
5. Who are your theatre idols?
I don't think I really have any "idols". There are certain people whose involvement in something would make me want to see it - Alex Jennings springs to mind, and Tamsin Greig - but without the sort of blind adoration that would leave me incapable of giving it a fair appraisal.
6. Who is your favourite Play- write and why?
Again, I'm going to have to sit on the fence. I like Noel Coward, Oscar Wilde, Ben Jonson, Michael Frayn, Alan Ayckbourn and I could go on. I won't because it would get rather tedious after a while.
7. What was it about acting that first intrigued you?
I got into acting by accident. After university I worked in film production and wanted to direct commercials. I started making some short films and realized very quickly that I had absolutely no idea what the actors I was working with needed from me as a director. I felt that the best way to solve this problem was to do some acting myself, so I enrolled on the foundation course at ArtsEd. Where I discovered that I really loved acting.
8. What made you decide against perusing a career as an actress?
Initially, after the foundation course, I did decide to pursue an acting career. But then it dawned on me that, boring but true, I'd probably spend more of my life doing jobs other than acting just to earn a living. And I really hate temping!
9. What do you think of the theatre industry?
That's a very hard question to answer as I'm really not sure what you're asking. Good, on balance.
10. If a play was to be made of your life; what would it be called? What genre would it be? And who would play you?
I once played a game with some friends where we had to write slogans to advertise each other. Mine was "Doesn't do things by halves". I think that might make a good title. Sort of sums me up. It would have to be a comedy. I mentioned earlier that I don't like plays that take themselves too seriously. Well, I don't take life too seriously, being a chronic optimist and usually keen to find an amusing side to a situation. As for who would play me, ideally I'd like to do it, although that might not be the best idea, either creatively or pragmatically. As an alternative, several people have told me that I remind them of Rosamund Pike. I think it's the English rose thing. She'd do very nicely, thank you very much!
1. What is your earliest memory of Theatre?
Being taken to see a panto at Richmond Theatre when I was about four. Can't remember which one but I do remember wearing black patent leather shoes with white spots! Around the same time I remember going to see things at the Polka Theatre in Wimbledon.
2. What first interested you in the theatre industry?
My great uncle, Irving Davies, was a choreographer and I grew up hearing his stories of shows he had worked on and thinking what a fascinating life that would be and how wonderful it would be to get paid to entertain people. Not that that persuaded me to want to go into theatre in any capacity. At school I wasn't involved in anything remotely theatrical, gave up drama as soon as I could and ended up doing science A Levels and a degree in physiology.
3. What is your most beloved theatre memory?
It's become a bit of a joke in my family that my parents cannot go to the theatre without someone in the audience falling spectacularly ill. As I used to go with them quite often, I've seen quite a number of people staggering out of the auditorium or collapsing in the aisle. Each time it's happened I've been full of admiration for the actors ploughing on, seemingly oblivious to the hoo-hah going on - I'm incapable of taking my eyes off it. Anyway, to return to the question, it always makes me smile when I remember, during a performance of something rather dull (doesn't matter what), a woman sitting in the middle of a row suddenly standing up and looking round, meerkat-like, before projectile-vomiting over several people in the row in front of her. The ensuing fuss was one hell of a lot more interesting than what was going on on stage!
4. What is your favourite play?
I don't have a favourite play, as such. I love plays which make me laugh, whether the humor is physical, verbal, farce, I don't mind as long as it's funny. At the other end of the spectrum, I cannot stand anything that takes itself too seriously. I have no problem with serious plays which tell a good story but I loath plays which forget that their primary purpose is to ENTERTAIN. Same goes for musicals and operas - I want songs I can sing on the way home!
5. Who are your theatre idols?
I don't think I really have any "idols". There are certain people whose involvement in something would make me want to see it - Alex Jennings springs to mind, and Tamsin Greig - but without the sort of blind adoration that would leave me incapable of giving it a fair appraisal.
6. Who is your favourite Play- write and why?
Again, I'm going to have to sit on the fence. I like Noel Coward, Oscar Wilde, Ben Jonson, Michael Frayn, Alan Ayckbourn and I could go on. I won't because it would get rather tedious after a while.
7. What was it about acting that first intrigued you?
I got into acting by accident. After university I worked in film production and wanted to direct commercials. I started making some short films and realized very quickly that I had absolutely no idea what the actors I was working with needed from me as a director. I felt that the best way to solve this problem was to do some acting myself, so I enrolled on the foundation course at ArtsEd. Where I discovered that I really loved acting.
8. What made you decide against perusing a career as an actress?
Initially, after the foundation course, I did decide to pursue an acting career. But then it dawned on me that, boring but true, I'd probably spend more of my life doing jobs other than acting just to earn a living. And I really hate temping!
9. What do you think of the theatre industry?
That's a very hard question to answer as I'm really not sure what you're asking. Good, on balance.
10. If a play was to be made of your life; what would it be called? What genre would it be? And who would play you?
I once played a game with some friends where we had to write slogans to advertise each other. Mine was "Doesn't do things by halves". I think that might make a good title. Sort of sums me up. It would have to be a comedy. I mentioned earlier that I don't like plays that take themselves too seriously. Well, I don't take life too seriously, being a chronic optimist and usually keen to find an amusing side to a situation. As for who would play me, ideally I'd like to do it, although that might not be the best idea, either creatively or pragmatically. As an alternative, several people have told me that I remind them of Rosamund Pike. I think it's the English rose thing. She'd do very nicely, thank you very much!
Joseph
Adelphi Theatre
2/4/08 19.30pm
What’s it about?
“Way way back many centuries ago, not long after the Bible began.” Based on verses of Genesis. Joseph is the tale of a farmer’s son who discovers he is able to interpret and understand the meaning of dreams.
What’s good?
The performances in Joseph are, as you’d expect, excellent. Particular note has to go to Neal Wright, who, in the supporting role of Judah was able to steal the scene every time he opened his mouth. Lee Mead, the reason the majority of the audience have turned up to see the show, posses’ a boy next door charm, which he is able to exude in heaps as a more than capable leading man.
What’s bad?
The performance I saw was the second performance of the day, it seemed apparent to me that Lee Mead in particular struggled vocally at points. The sound operation was atrocious; frequently the actors were made un-audible by the lack of an ability to keep up with the play enough to turn the microphone on to the correct level at the correct time. The Adelphi theatre itself also hampered the production, with the audience being made to sweat in uncomfortably warm conditions and, if you were sitting in the Upper Circle, you were privy to a nice view of actor’s heads as you strained to work out what was actually occurring on stage. None of which, I might add, was mentioned when the ticket was purchased.
Overall
The audience went wild throughout the performance, from the first sight of Lee Mead in the title role to the final curtain. Joseph is a very entertaining family show, but with the traditional etiquette of theatre seemingly thrown out of the window because the audience present had voted for the lead in a BBC reality show. This reviewer found himself asking if the show and the experience was really worth the entrance fee.
2/4/08 19.30pm
What’s it about?
“Way way back many centuries ago, not long after the Bible began.” Based on verses of Genesis. Joseph is the tale of a farmer’s son who discovers he is able to interpret and understand the meaning of dreams.
What’s good?
The performances in Joseph are, as you’d expect, excellent. Particular note has to go to Neal Wright, who, in the supporting role of Judah was able to steal the scene every time he opened his mouth. Lee Mead, the reason the majority of the audience have turned up to see the show, posses’ a boy next door charm, which he is able to exude in heaps as a more than capable leading man.
What’s bad?
The performance I saw was the second performance of the day, it seemed apparent to me that Lee Mead in particular struggled vocally at points. The sound operation was atrocious; frequently the actors were made un-audible by the lack of an ability to keep up with the play enough to turn the microphone on to the correct level at the correct time. The Adelphi theatre itself also hampered the production, with the audience being made to sweat in uncomfortably warm conditions and, if you were sitting in the Upper Circle, you were privy to a nice view of actor’s heads as you strained to work out what was actually occurring on stage. None of which, I might add, was mentioned when the ticket was purchased.
Overall
The audience went wild throughout the performance, from the first sight of Lee Mead in the title role to the final curtain. Joseph is a very entertaining family show, but with the traditional etiquette of theatre seemingly thrown out of the window because the audience present had voted for the lead in a BBC reality show. This reviewer found himself asking if the show and the experience was really worth the entrance fee.
Carrie Walsh Auditorium Interview
At 20 years old, Carrie Walsh is about to embark on a three year degree in theatre design. With a prospective career behind the stage in the offing, I took the opportunity to find out what it is about theatre that is still driving generation after generation to want to be a part of this great industry.
What is your earliest memory of Theatre?
I have faint memories of putting the Nativity Play together as a six year old, my primary school despite being Catholic was never conventional in their putting on of traditional shows - I can't remember the exact point of the nativity play, but I do remember having to wear traditional Russian clothing and bowing to a classmate dressed in traditional French clothing! The first show I ever saw in the West End was Joseph and His Technicolor Dreamcoat at the Palladium back in the mid-nineties when Phillip Schofield was Joseph - I just remember the colour against the black set, and the rough red velvet seats.After that, I went on various trips to Christmas pantomimes at the Catford Theatre... Peter Pan and Cinderella...
What made you want to be a part of the theatre industry?
I had always wanted to become a costume designer after watching Titanic as a ten year old, but I didn't know theatre was for me until I started work as a theatre usher two years ago. The industry had a heart that I didn't feel the movie industry had. There was a perfect sense of community that is still alive today. However, I feel the West End right now is in utter tatters with all these awful productions taking over, shows like The Drowsy Chaperone coming to a premature end when shows like Grease extend their run before they've even opened! The state of the industry right now doesn't put me off pursuing a career in theatre at all - it's set alight a fire in me, and all I want to do is create shows and revolt against the awful show currently taking over the West End.
What is your most beloved theatre memory?
Goodness! The standing ovation last final performance of The Drowsy Chaperone received on the 4th August this year. I thought I lost all faith in theatre, this amazing show ending... But then I saw and felt the sublime atmosphere in the auditorium, people were stamping on the floor with pride and admiration for the show. Even if shows close early to accommodate jukebox musicals, I seriously doubt they'll cause audiences to react the way they did to Drowsy's final curtain call.
What is your favourite play?
Who's Afraid of Virginia Woolf by Edward Albee. A complete stunner.
Who are your theatre idols?
Bob Martin - An utter genius!
Who is your favourite playwright and why?
My good friend Steve Hevey, Tennessee Williams, David Mamet, Sarah Kane and nothing beats a Shakespearian comedy.
If you could design any play/ character in the world, which play/ character would you want to create and why?
I think it'd be one of my complete and utter imagination and creation, something that hasn't been thought up, something so original and theatrical it would blow people away!
How would you like your legacy in the industry to be seen?
I'd just like to be known in the future as a good designer and someone who was just passionate about good theatre.
If a play was to be made of your life; What would it be called? What genre would it be? And who would play you?
I doubt anyone would ever do that! I don't think I'd allow it, it's a bit self indulgent... There are far more interesting people to write about! But if they did it'd have to be a comedy, and I have no idea who would play me, someone with a lot of frizzy red hair?
What is your earliest memory of Theatre?
I have faint memories of putting the Nativity Play together as a six year old, my primary school despite being Catholic was never conventional in their putting on of traditional shows - I can't remember the exact point of the nativity play, but I do remember having to wear traditional Russian clothing and bowing to a classmate dressed in traditional French clothing! The first show I ever saw in the West End was Joseph and His Technicolor Dreamcoat at the Palladium back in the mid-nineties when Phillip Schofield was Joseph - I just remember the colour against the black set, and the rough red velvet seats.After that, I went on various trips to Christmas pantomimes at the Catford Theatre... Peter Pan and Cinderella...
What made you want to be a part of the theatre industry?
I had always wanted to become a costume designer after watching Titanic as a ten year old, but I didn't know theatre was for me until I started work as a theatre usher two years ago. The industry had a heart that I didn't feel the movie industry had. There was a perfect sense of community that is still alive today. However, I feel the West End right now is in utter tatters with all these awful productions taking over, shows like The Drowsy Chaperone coming to a premature end when shows like Grease extend their run before they've even opened! The state of the industry right now doesn't put me off pursuing a career in theatre at all - it's set alight a fire in me, and all I want to do is create shows and revolt against the awful show currently taking over the West End.
What is your most beloved theatre memory?
Goodness! The standing ovation last final performance of The Drowsy Chaperone received on the 4th August this year. I thought I lost all faith in theatre, this amazing show ending... But then I saw and felt the sublime atmosphere in the auditorium, people were stamping on the floor with pride and admiration for the show. Even if shows close early to accommodate jukebox musicals, I seriously doubt they'll cause audiences to react the way they did to Drowsy's final curtain call.
What is your favourite play?
Who's Afraid of Virginia Woolf by Edward Albee. A complete stunner.
Who are your theatre idols?
Bob Martin - An utter genius!
Who is your favourite playwright and why?
My good friend Steve Hevey, Tennessee Williams, David Mamet, Sarah Kane and nothing beats a Shakespearian comedy.
If you could design any play/ character in the world, which play/ character would you want to create and why?
I think it'd be one of my complete and utter imagination and creation, something that hasn't been thought up, something so original and theatrical it would blow people away!
How would you like your legacy in the industry to be seen?
I'd just like to be known in the future as a good designer and someone who was just passionate about good theatre.
If a play was to be made of your life; What would it be called? What genre would it be? And who would play you?
I doubt anyone would ever do that! I don't think I'd allow it, it's a bit self indulgent... There are far more interesting people to write about! But if they did it'd have to be a comedy, and I have no idea who would play me, someone with a lot of frizzy red hair?
Grease
Piccadilly Theatre: 27th March 2008: 7.30pm
Grease has been revived for its current incarnation by the reality TV show, Grease is the word.
What’s it about?
Set in 1955, Grease is the tale of love between ultra hip T-Bird Danny and the sweet hearted Sandy.
What’s good?
The play is fun family entertainment; the audience were clearly less interested in the play itself and more interested in seeing the stars of the TV show.
The support cast assert themselves firmly in the production, holding it up as best as they can. Particular mention goes to Richard Hardwick and Laurie Scarth as Roger and Jan respectively, who perform with an underlying sweetness and genuine affection for each others characters.
What’s bad?
This incarnation of Grease has been re- written for a more family friendly audience the producers clearly assuming that the audience for Grease will be less fans of the play, but more fans of the TV show. As a result the show has been cut down to a pantomime-esque tribute to the original material, with all the sex and bad language of the original removed. Susan McFadden performs her best possible Olivia Newton John impersonation but brings nothing else to the role of Sandy. Danny Bayne on the other hand, does possess a star quality, which becomes apparent when he dances, the rest of the time however, his talent is shown to be painfully raw and incapable of leading a West End cast.
Overall
At a time when West End theatre has some of the best musical productions in the world on its door step, you would be wasting your money on seeing Grease as, although an entertaining show, is as empty as a theatrical performance can get.
Rent 'Remixed'
Duke of York’s Theatre - 5/11/07
7.45pm
When part of a plays’ soul is removed it rarely has a chance for survival, this is what has happened to RENT. The late Jonathan Larson’s play about a group of New Yorkers who live and survive while suffering in poverty under the shadow of AIDS.
‘Remixed’ by William Baker, the creative force behind pop concerts such as Kylie Minogue’s Showgirl tour. RENT is a shambolic cabaret of its former self, with direction so poor the actors seem completely unaware of what they should be doing while they are onstage.
In his programme notes, Baker explains his decision to ‘remix’ the show, arguing that, “The world is a very different place now to what is was when RENT first opened.” He also goes on to say that, in his opinion; RENT is about, “connection in an isolating age”.
Both points he makes are very valid; however, Baker fails in attempting to convey either of these points on stage, the only real suggestions we are given that this version of RENT is based in 2007 rather than 1996 is that the character of Mark uses a Hard Disk camcorder rather than an 8mm film camera.
RENT appears in my opinion to have actually been remixed to allow Baker to cast actors who are completely wrong for the character they are portraying.
The key example of this being Mark Cohen, the Mawkish, Broke, Angry, Jewish, New Yorker; who obsessively films everything he sees and acts as narrator to the entire show. In this ‘remixed’ version we are introduced to a flamboyant upper class Englishman who doesn’t seem to understand what either poverty or obsession are. The casting works about as well as if Dame Edna was cast to play Juliet.
The actors do their best with the confusing mess that Baker has given them; however they are constantly shown to be faltering when it comes to showing any real emotion as their character, the only exceptions coming from Francesca Jackson as Joanne and understudies Craig Stein and Jamie Sampson as Angel and Benny respectively.
RENT ‘Remixed’ is solid proof that a winning formula should never be messed with.
7.45pm
When part of a plays’ soul is removed it rarely has a chance for survival, this is what has happened to RENT. The late Jonathan Larson’s play about a group of New Yorkers who live and survive while suffering in poverty under the shadow of AIDS.
‘Remixed’ by William Baker, the creative force behind pop concerts such as Kylie Minogue’s Showgirl tour. RENT is a shambolic cabaret of its former self, with direction so poor the actors seem completely unaware of what they should be doing while they are onstage.
In his programme notes, Baker explains his decision to ‘remix’ the show, arguing that, “The world is a very different place now to what is was when RENT first opened.” He also goes on to say that, in his opinion; RENT is about, “connection in an isolating age”.
Both points he makes are very valid; however, Baker fails in attempting to convey either of these points on stage, the only real suggestions we are given that this version of RENT is based in 2007 rather than 1996 is that the character of Mark uses a Hard Disk camcorder rather than an 8mm film camera.
RENT appears in my opinion to have actually been remixed to allow Baker to cast actors who are completely wrong for the character they are portraying.
The key example of this being Mark Cohen, the Mawkish, Broke, Angry, Jewish, New Yorker; who obsessively films everything he sees and acts as narrator to the entire show. In this ‘remixed’ version we are introduced to a flamboyant upper class Englishman who doesn’t seem to understand what either poverty or obsession are. The casting works about as well as if Dame Edna was cast to play Juliet.
The actors do their best with the confusing mess that Baker has given them; however they are constantly shown to be faltering when it comes to showing any real emotion as their character, the only exceptions coming from Francesca Jackson as Joanne and understudies Craig Stein and Jamie Sampson as Angel and Benny respectively.
RENT ‘Remixed’ is solid proof that a winning formula should never be messed with.
Treats
Christopher Hampton’s classic play Treats is currently showing at the Garrick Theatre on Charring Cross Road, Starring Dr Who actress Billie Piper alongside My Family’s Kris Marshall and The Hole star Laurence Fox, it is the tale of a love triangle between Ann (Piper), a translator, her co worker and live in boyfriend Patrick (Fox) and Ann’s ex; alcoholic womanising journalist Dave (Marshall)
The stage is designed well, as are the lights and sound. Creating a genuine sense of Ann’s flat, the choice of songs throughout the play also work well in suggesting the emotions that the characters might be experiencing. This however is where the positives end.
Treats is anything but a treat to watch, with over acting from Kris Marshall and Billie Piper doing little to assist a confusing script which alienates the majority of the audience and direction which was so poor the actors were unsure of how they should really be feeling from scene to scene.
With actors and audience baffled alike, I would strongly recommend avoiding treats, as it will leave you asking questions such as “Why did I spend my money on that?”
The stage is designed well, as are the lights and sound. Creating a genuine sense of Ann’s flat, the choice of songs throughout the play also work well in suggesting the emotions that the characters might be experiencing. This however is where the positives end.
Treats is anything but a treat to watch, with over acting from Kris Marshall and Billie Piper doing little to assist a confusing script which alienates the majority of the audience and direction which was so poor the actors were unsure of how they should really be feeling from scene to scene.
With actors and audience baffled alike, I would strongly recommend avoiding treats, as it will leave you asking questions such as “Why did I spend my money on that?”
Mary Poppins
Prince Edward Theatre
Thursday 14/6/07 – 2.30pm
Mary Poppins is a phenomenon, as a series of books by P.L. Travers and most famously as a film character portrayed by Julie Andrews. The premise is relatively simple; Jane and Michael Banks love causing trouble for their nannies. However, when the wind changes, Mary Poppins appears as if out of nowhere, and proceeds to show Michael and Jane that there is more to life than they can see with their eyes.
What’s good?
With incredible sets and truly brilliant choreography from Matthew Bourne, it is actually hard to find anything with Mary Poppins that isn’t like the character’s description, “Practically perfect in every way"
Overall
Mary Poppins truly is a magical tale that hasn’t lost any of it’s brilliance after all of these years, a real treat for all the family. Mary Poppins is very definitely one of the best shows on in the West End. When it closes next summer, it will be a real loss to the world of theatre, lets just hope the wind changes and she returns once more.
Thursday 14/6/07 – 2.30pm
Mary Poppins is a phenomenon, as a series of books by P.L. Travers and most famously as a film character portrayed by Julie Andrews. The premise is relatively simple; Jane and Michael Banks love causing trouble for their nannies. However, when the wind changes, Mary Poppins appears as if out of nowhere, and proceeds to show Michael and Jane that there is more to life than they can see with their eyes.
What’s good?
With incredible sets and truly brilliant choreography from Matthew Bourne, it is actually hard to find anything with Mary Poppins that isn’t like the character’s description, “Practically perfect in every way"
Overall
Mary Poppins truly is a magical tale that hasn’t lost any of it’s brilliance after all of these years, a real treat for all the family. Mary Poppins is very definitely one of the best shows on in the West End. When it closes next summer, it will be a real loss to the world of theatre, lets just hope the wind changes and she returns once more.
Avenue Q
Avenue Q
By Matt Fricker
There has always been a great brotherhood between the West End and Broadway, with the most successful productions frequently travelling across the Atlantic to engross theatre goers on the other side.
Avenue Q is one of the most recent shows to be bought over from Broadway. Nominated for 6 Tony awards in 2004, it came away with 3. Including; Best Musical and Best Original Score.
What’s it about?
Set in modern day New York, Avenue Q revolves around the lives of 22 year old English graduate Princeton and the other residents of Avenue Q; Love lorn Teaching assistant Kate Monster, Secretly flamboyant accountant Rod, Happy- go- lucky Nicky, Porn obsessed Trekkie Monster, Wannabe comedian Brian and his wife Christmas Eve, and former Child star Gary Coleman who is the janitor of Avenue Q.
What’s good?
Avenue Q is clearly influenced by Jim Henson’s puppet creation, Sesame Street. There are several similarities between the characters, most notably Rod and Nicky’s likeness to Bert and Ernie and Trekkie Monster’s likeness to Cookie Monster. Not only in voice, but also in design and movement.
The songs are also reminiscent of Sesame Street, with each song containing “educational undertones” such as “Everyone’s a little bit racist” and “The internet is for porn”
What’s bad?
Avenue Q definitely isn’t for everyone, the easily offended will most probably be offended. As will those who feel that puppets shouldn’t utter a word that is not Uc rated. That said, it is my firm belief that if you fit into that category of audience, you probably shouldn’t even consider seeing Avenue Q or most modern theatre for that matter.
Overall
A raucous reception greeted the end of the performance I saw, reminiscent of a pop concert rather than a West End Musical. This illustrated to me the changes that musical theatre has gone through in the past few years. Now we have plays being written for the I- pod generation, a whole new audience is discovering the beauty of the West End and Avenue Q is the perfect vehicle to introduce them to this great art.
By Matt Fricker
There has always been a great brotherhood between the West End and Broadway, with the most successful productions frequently travelling across the Atlantic to engross theatre goers on the other side.
Avenue Q is one of the most recent shows to be bought over from Broadway. Nominated for 6 Tony awards in 2004, it came away with 3. Including; Best Musical and Best Original Score.
What’s it about?
Set in modern day New York, Avenue Q revolves around the lives of 22 year old English graduate Princeton and the other residents of Avenue Q; Love lorn Teaching assistant Kate Monster, Secretly flamboyant accountant Rod, Happy- go- lucky Nicky, Porn obsessed Trekkie Monster, Wannabe comedian Brian and his wife Christmas Eve, and former Child star Gary Coleman who is the janitor of Avenue Q.
What’s good?
Avenue Q is clearly influenced by Jim Henson’s puppet creation, Sesame Street. There are several similarities between the characters, most notably Rod and Nicky’s likeness to Bert and Ernie and Trekkie Monster’s likeness to Cookie Monster. Not only in voice, but also in design and movement.
The songs are also reminiscent of Sesame Street, with each song containing “educational undertones” such as “Everyone’s a little bit racist” and “The internet is for porn”
What’s bad?
Avenue Q definitely isn’t for everyone, the easily offended will most probably be offended. As will those who feel that puppets shouldn’t utter a word that is not Uc rated. That said, it is my firm belief that if you fit into that category of audience, you probably shouldn’t even consider seeing Avenue Q or most modern theatre for that matter.
Overall
A raucous reception greeted the end of the performance I saw, reminiscent of a pop concert rather than a West End Musical. This illustrated to me the changes that musical theatre has gone through in the past few years. Now we have plays being written for the I- pod generation, a whole new audience is discovering the beauty of the West End and Avenue Q is the perfect vehicle to introduce them to this great art.
Hairspray
Shaftesbury Theatre – 29th November 2007: 7.30pm
Set in 1962, Hairspray tells the story of young Tracy Turnblad (led by truly magnificent debutant Leanne Jones) a big girl with even bigger dreams, her ambitions start with wanting to be a cast member on The Corny Collins Show and winning the heart of the dreamy Link Larkin (Played with great skill by former “Any Dream Will Do” contestant Ben James- Ellis) soon after however, Tracy’s ambitions turn to racial equality and making every day “Negro Day”.
The cast, led by Leanne Jones is flawless, with Michael Ball in particular revelling in the role of Edna Turnblad.
There is currently no other musical in the West End that is as close to a perfect piece of theatre as Hairspray. The show, brimming with infectious feel good energy from start to finish resulted in a full house standing ovation occurring in jubilation for the performances that the auditorium had just borne witness to.
Set in 1962, Hairspray tells the story of young Tracy Turnblad (led by truly magnificent debutant Leanne Jones) a big girl with even bigger dreams, her ambitions start with wanting to be a cast member on The Corny Collins Show and winning the heart of the dreamy Link Larkin (Played with great skill by former “Any Dream Will Do” contestant Ben James- Ellis) soon after however, Tracy’s ambitions turn to racial equality and making every day “Negro Day”.
The cast, led by Leanne Jones is flawless, with Michael Ball in particular revelling in the role of Edna Turnblad.
There is currently no other musical in the West End that is as close to a perfect piece of theatre as Hairspray. The show, brimming with infectious feel good energy from start to finish resulted in a full house standing ovation occurring in jubilation for the performances that the auditorium had just borne witness to.
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